DOCSLIB.ORG

Video Production Process

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Video Production Process Vileep, K. S., Faculty Member, DoS in Physical Education, Kuvempu University, Shivamogga-577451. Video Production Process Video Production: Video production is the process of producing video content. It is the equivalent of filmmaking, but with images recorded digitally instead of on film stock. There are three stages of video production: pre-production, production (also known as principal photography), and post-production. Pre-Production Pre-production refers to the first stage of video production process. Pre-production involves all of the planning aspects of the video production process before filming begins. This includes scriptwriting, scheduling, logistics, and other administrative duties. Pre-production process begins to query handling & ends with final Shooting schedule. Pre-production is the process of preparing all the elements involved in a film. At this stage, finalizing preparations for production go into effect. Stages of Pre-production Query Script Recce Query Shooting Concept Response Schedule Meeting Storyboard Production/Shooting Client Query: In this client express their requirement or uncertainty. Query response: Doubts or questions raised by the clients are answered. Meeting schedule: Is fixed to discuss the various components of films like concept, plan, budget etc. Storyboard: A rough, pictorial outline of different scenes, Camera angles, perspectives in a film or interactive scenes. Concept: The concept is an idea used to tell your story by combining all its characteristics or particulars. Script: A video script is a product of Concept, Structure, Content, Style, and Format. Awareness of the role of each will result in scripts that are targeted to the audience and the goal of the video. These elements, plus an Opening that grabs the audience and a Closing that ties it all together are vital to the success of your video. Recce: Preview and finalization of locations for shoot. Shooting Schedule: A shooting schedule is a project plan of each day's shooting for a film production. It is normally created and managed by the assistant director, who reports to the production manager managing the production schedule. Production The production refers to the shooting days. Production is the phase of video production which captures the video content (moving images / videography) and involves filming the subject(s) of the video. This is the point where all those best laid plans are fulfilled. If everything is well prepared there is no reason why this shouldn't go smoothly. Production refers to the tasks that are executed during the filming or shooting. This includes tasks such as setting up scenes, the capture of raw footage, and usage of set designs. Stage of Production Shooting Shooting: Shots are an essential aspect of a film where angles, transitions and cuts are used to express ideas and movements. Post-Production The post-production phase involves editing & various effects to the Final output of the video deliver to the client. Post-production is the action of selectively combining those video clips through video editing into a finished product that tells a story or communicates a message in either a live event setting (live production), or after an event has occurred (post-production). It is a term for all stages of production occurring after the actual end of shooting and/or recording the completed work. Stages of Post-production Editing: Is a process in which film is modified by adding (music,graphics, voice over etc). First video cut: Is a rough preview of film before finalizing. Final video cut: Is the process where editor works with the raw footage, selecting shots and combining them into sequence to create a finished motion film. Feedback: An important part of the production process as it speaks about the quality of work done. .
Load more

Recommended publications
  • A Producer's Handbook
    DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice.
    [Show full text]
  • Evening Filmmaking Workshop
    FILMM NG A I K N I E N V G E P R K O O DU BO CTION HAND April 2010 NEW YORK FILM ACADEMY 100 East 17th Street Tel: 212-674-4300 Email: [email protected] New York, NY 10003 Fax: 212-477-1414 www.nyfa.edu CLASSES Direcotr’s Craft Hands-on Camera and Lighting Director’s Craft serves as the spine of the workshop, Beginning on day one, this is a no-nonsense introducing students to the language and practice camera class in which students learn fundamental of filmmaking. Through a combination of hands- skills in the art of cinematography with the 16mm on exercises, screenings, and demonstrations, Arriflex-S, the Lowel VIP Lighting Kit and its students learn the fundamental directing skills accessories. Students shoot and screen tests for needed to create a succinct and moving film. focus, exposure, lens perspective, film latitude, This class prepares students for each of their slow/fast motion, contrast, and lighting during their film projects and is the venue for screening and first week of class. critiquing their work throughout the course. Production Workshop Writing Production Workshop gives students the The writing portion of the filmmaking course opportunity to learn which techniques will help adheres to the philosophy that good directing them express their ideas most effectively. cannot occur without a well-written script. The This class is designed to demystify the craft of course is designed to build a fundamental filmmaking through in-class exercises shot on understanding of dramatic structure, which is film under the supervision of the instructor.
    [Show full text]
  • Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
    Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
    [Show full text]
  • Costs in a Film's Production Process
    European Research Studies Journal Volume XXIV, Issue 2B, 2021 pp. 1069-1080 Costs in a Film’s Production Process Submitted 26/03/20, 1st revision 21/04/20, 2nd revision 23/05/20, accepted 30/06/21 Damian Łazarczyk1 Abstract: Purpose: Film production is associated with incurring costs. This article aims to analyze the production process of a feature film through the prism of incurred production costs. The indi- rect aim is to answer the question: What is the structure of the set of costs in the production process of an audiovisual work? Design/Methodology/Approach: The study concerns the production costs of film work based on the cost philosophy of the Polish Film Institute and American solutions. The study uses the descriptive and comparative analysis method of various aspects of film production; the deduc- tive-inductive reasoning method; the costing method; the logical analysis method based on the literature on film production organization and accounting; the qualitative method in the form of unstructured face-to-face interviews with film producers con-ducted at production courses at the L. Schiller National Higher School of Film, Television, and Theatre in Łódź. Findings: The amount of cost of a film project is determined by the film script. The structure of the set of costs in the different stages of the film production process in the world is similar. The fees are an essential item in the cost of a feature film. The production organization crite- rion and the time criterion shape the film production costs. Practical Implications: Efficient organization of the film production process affects the cost of ownership of film work.
    [Show full text]
  • Directing the Narrative Shot Design
    DIRECTING THE NARRATIVE and SHOT DESIGN The Art and Craft of Directing by Lubomir Kocka Series in Cinema and Culture © Lubomir Kocka 2018. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Cinema and Culture Library of Congress Control Number: 2018933406 ISBN: 978-1-62273-288-3 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. CONTENTS PREFACE v PART I: DIRECTORIAL CONCEPTS 1 CHAPTER 1: DIRECTOR 1 CHAPTER 2: VISUAL CONCEPT 9 CHAPTER 3: CONCEPT OF VISUAL UNITS 23 CHAPTER 4: MANIPULATING FILM TIME 37 CHAPTER 5: CONTROLLING SPACE 43 CHAPTER 6: BLOCKING STRATEGIES 59 CHAPTER 7: MULTIPLE-CHARACTER SCENE 79 CHAPTER 8: DEMYSTIFYING THE 180-DEGREE RULE – CROSSING THE LINE 91 CHAPTER 9: CONCEPT OF CHARACTER PERSPECTIVE 119 CHAPTER 10: CONCEPT OF STORYTELLER’S PERSPECTIVE 187 CHAPTER 11: EMOTIONAL MANIPULATION/ EMOTIONAL DESIGN 193 CHAPTER 12: PSYCHO-PHYSIOLOGICAL REGULARITIES IN LEFT-RIGHT/RIGHT-LEFT ORIENTATION 199 CHAPTER 13: DIRECTORIAL-DRAMATURGICAL ANALYSIS 229 CHAPTER 14: DIRECTOR’S BOOK 237 CHAPTER 15: PREVISUALIZATION 249 PART II: STUDIOS – DIRECTING EXERCISES 253 CHAPTER 16: I.
    [Show full text]
  • Production Handbookfinaldraft
    PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary
    [Show full text]
  • V23N5 2012.Indd
    Six men, two dories and the North Atlantic Why it’s an apt analogy for Atlantic Canada’s film industry and its place on the global stage. 52 | Atlantic Business Magazine | September/October 2012 By Stephen Kimber dawn in the nowhere It’s middle of the Atlantic ocean. How many days have they been drifting out here? Dickie – at 17, the youngest crew member – is supposed to be keeping watch. But he’s asleep, sprawled out in the bow of one of the two dories, his head lolling over the gunwhale. He wakes with a guilty start, stares, tries to make sense of the endless nothingness of dark-blue sea and flat grey sky. Wait! What’s that? On the horizon. A speck? Another vessel? A mirage? He looks back into his dory where his father, Merv, and Pete, the harpooner, are curled up asleep, and then across to the other dory where Gerald, Mannie and Gib are sleeping too. Finally, he decides. He reaches out, whispers, “Pete… Pete.” Pete wakes, growls: “What?” Dickie can only point. Pete sees what Dickie sees. He throws off his blanket, jumps to his feet. “There’s a boat,” he says, then louder, as if convincing himself. “There’s a boat. THERE’S A BOAT!” He’s screaming now, rousing the others. Gerald, the captain, immediately assumes command, scrambling to find the fog horn he’d rescued when their fishing boat sank. He blows a blast. Then another. The rest of the men grab for the oars. Mannie, the first mate, struggles to bring order to their chaos.
    [Show full text]
  • Pull-Tight Production Packet Index
    Pull-Tight Production Packet Index 1. Index 2. Helpful Tips for Producing at Pull-Tight Job Descriptions: 3. Responsibilities of the Director 4. Responsibilities of the Producer 5. Responsibilities of the Stage Manager 6. Stage Manager Checklist Production Policies: 7. Holdover Policy 8. Responsibilities of the Executive Producer 9. Working With Minors at Pull-Tight 10. House Rules 11. House Rules – Set Crew 12. Fire Safety Rules 13. Musician Fees Policy 14. Show Cancellation Policy Forms: 15. Budget Form 16. Sample Budgets 17. Audition Form Page 1 Musical 18. Audition Form Page 1 Non-Musical 19. Audition Form Page 2 20. Postcard Sent to Individuals Not Cast 21. Minors’ Parents Form 22. Contract for Musical Services 23. Expense Report Form 24. Check Voucher Form 25. T-Shirt Order Form 26. Actor Bio Form 27. Costume Measurement Sheet Additional Policies, Forms, or Information: 28. Complimentary Tickets Policy 29. Crew Template for Program 30. Lobby Display Policy 31. General Box Office Information 32. Tips for Polyurethaning the Floor HELPFUL TIPS FOR PRODUCING AT PULL-TIGHT It is strongly recommended that these tips be read by the Director, Producer, and Stage Manager of the show before you go into production, discussed together at your first Production meeting, and then kept on hand to refer to frequently. RESOURCES : Pull-Tight Public Website: www.pull-tight.com Pull-Tight Private Website: www.pull-tight.com/production Password: breakaleg If you have questions regarding technical aspects of your production or “how things are done” at Pull-Tight, the Executive Producer is your primary contact. If the Executive Producer doesn’t know the answer, he or she will be able to help you find it, and can also alert you to any recent changes in Board policy.
    [Show full text]
  • UNIT-II Pre and Post
    UNIT-II Pre and post - production planning - functions, duties and responsibilities of the crew members. Art direction - location - floor management - out-doors and indoors - lighting - management of live shows / live telecast - sports coverage etc. PRE AND POST - PRODUCTION PLANNING The Production Process The production process refers to the stages (phases) required to complete a media product, from the idea to the final master copy. The process can apply to any type of media production including film, video, television and audio recording. The stages in each medium vary; for example, there is obviously no storyboard in an audio recording. However the same general concepts work for any medium. The three main stages of production are: Pre-production: Planning, scripting & storyboarding, etc. Production: The actual shooting/recording. Post-production: Everything between production and creating the final master copy. PRE-PRODUCTION Pre-production is a fairly loose term which refers to the tasks undertaken before production begins. Exactly what is included in this stage depends on the medium and situation. For a small video company, pre-production may refer to everything that happens before shooting begins, for example, meeting with the client, research, storyboarding, location planning, etc. For feature films, pre-production is more specific and only begins when other milestones have been met such as financing, screenplay, casting and major staffing. In this case pre-production includes: Location scouting Prop and wardrobe identification and preparation Special effects identification and preparation Production schedule Set construction Script-locking (semi-finalisation of the script) Script read-through with cast, director and other interested parties STAGES OF PRE-PRODUCTION Finalize a Shooting Script While movies are magical, they don‟t come out of thin air.
    [Show full text]
  • Film Director Agreement (Fiction Film)
    FILM DIRECTOR AGREEMENT (FICTION FILM) The Parties to this Agreement are: ___________________ , personal identity code _________, address _____________________________ (hereinafter the ”Director”); and ___________________ , company identity code _________, address _____________________________ (hereinafter the ”Producer”). 1. OBJECT OF THE AGREEMENT 1.1 The Producer will employ the Director for making the film _____________________ (hereinafter the ”Film”) in accordance with the terms and conditions agreed in this Film Director Agreement (hereinafter the ”Agree- ment”). 1.2 The Film will be filmed in ________ format, and its screen time is fixed at ______ minutes. 1.3 The target age limit for the Film shall be ______. 1.4 The production budget for the Film is ___________________ euros. 1.5 The Film shall be based on: a) ________ʼs literary or other work entitled ”______________”. The film rights in respect of the work have been transferred under a separate agreement between the Producer and the holder of the rights. b) Original idea by _________ The manuscript for the Film has been made by: _________________________. The film rights in respect of the manuscript have been transferred under a sepa- rate agreement between the Producer and the holder of the rights. 2. THE DIRECTORʼS JOB DESCRIPTION 2.1 The employment of the Director begins / has begun on ___.___.20___. 1 The Directorʼs work shall be conducted as follows: Preliminary planning between ________ - ________, in total __ days; Filming period between ________ - ________, in total __ days; Post-production work between ________ - ________, in total __ days. The Directorʼs employment will end once the Director has inspected and ap- proved the final form of the Film.
    [Show full text]
  • Video Production Putting Theory Into Practice
    Video Production Putting Theory into Practice Steve Dawkins (Coventry University) Ian Wynd (North Warwickshire and Hinckley College) Contents Introduction Section One: Theory and Practice 1. Knowing: The Theory of Video Production 2. Doing: Preparing for Video Production 3. The Practice of Video Production: Pre-Production 4. The Practice of Video Production: Production 5. The Practice of Video Production: Post-Production Section Two: The Briefs 6. The Television Title Sequence 7. The Magazine Programme 8. The Documentary 9. The Drama Short Introduction People working within the creative media industries often mystify the process of video production. There is a well-known saying that video production isn’t as easy as it looks but isn’t as difficult as it is made out to be. While it is true that professional working practices are the result of much training, our starting point is that we believe that anyone has the potential to produce excellent videos. However, what marks out good or exceptional video production, whether professional or non-professional, is two things: the ability of the video- maker to understand and effectively work through the different stages of production systematically and their ability to think about what they’re actually doing at each of those stages and act upon those thoughts. Video Production: Putting Theory into Practice is a book for students who are new to video production in further and higher education. It is a book that links the types of theory that are applicable to video production that you will encounter on a range of different communications, cultural or media courses with the practical skills of video making.
    [Show full text]
  • Video Production 101: Delivering the Message
    VIDEO PRODUCTION VIDEO PRODUCTION 101 101 Delivering the Message Antonio Manriquez & Thomas McCluskey VIDEO PRODUCTION 101 Delivering the Message Antonio Manriquez & Thomas McCluskey Video Production 101 Delivering the Message Antonio Manriquez and Thomas McCluskey Peachpit Press Find us on the Web at www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Copyright © 2015 by Antonio Jesus Manriquez and Thomas McCluskey Senior Editor: Karyn Johnson Development Editor: Stephen Nathans-Kelly Senior Production Editor: Tracey Croom Copyeditor and Proofreader: Kim Wimpsett Compositor: Danielle Foster Indexer: Jack Lewis Interior Design: Danielle Foster Cover Design: Aren Straiger Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis without warranty. While every precaution has been taken in the preparation of the book, neither the authors nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark.
    [Show full text]